Freitag

"You can be cynical about these gigs (as there is money to be made) and the crowds are really not loyal in anyway but the atmosphere is amazing even if it's a little fake."(Tiger Reid about underage Clubs)

So…first of all, introduce yourself to our readers.

Hi, I’m Tiger. Which is my real name. Hippie Parents. I am a girl. Just in case you thought it was a boy’s name.

I work as an artist manager, live in Shoreditch, cycle to work and love strawberries and the SFA.

“This band is your life” is my new tagline.

You´re working at “Fourth Floor Music”, a UK based Management Company with the likes of Basement Jaxx in their Artist Roster. How does it happen that you get this Job?

I was working at the Edinburgh International Film Festival when I left University. I went to all the parties and meet a music video director Dougal Wilson who directed the last Basement Jaxx Music Video. So through that I was put in touch with their manager who was setting up an Artist Management company.

What is important for New Bands to get attention by a Management Company in a time when competition is so hard?

First of all as the saying goes ‘you can’t polish a turd’ so before bands worry about management they need to have great songs. I think that at the start acts should manage themselves. I find it impressive if bands are able to organise gigs, recording etc. as this shows a certain level of commitment to their art. So I would encourage bands to do their own thing, play loads of gigs, find your sound, develop your songs, speak to other bands etc. Although a dirty word, you need to create your own buzz.

Ideally, Management and all the other elements such as press, record labels etc. will come to you. Which ever comes first usually the rest will follow. Lots of Acts have lawyers before Management as they don’t have to invest as much time in to a project and can take on many acts while Managers have to be really picky about who they work on. So it’s an idea to try contacting lawyers first.

Either way it’s all about the songs and the live performance. So get that right first.

“This is Music” is a Club Nite in Edinburgh. And since this year, it´s also in London. Was it hard to find a Club for that Project?

I started “This is Music” as a group of us just wanted to put on bands we love and party together. I ran that for a year in Edinburgh and started it up in London a year ago with a friend. It still runs on the same principles now, to party with good bands.

The London night runs in the Hoxton/Shoreditch Area which is full of venues and promoters. So it wasn’t hard to find a venue really, I had been out to the Macbeth (where we run the night) and loved the size and feel. So just rang them up and we had a trial night, which went well and so it stayed there.

Its not really rocket science. You just need to find good bands, treat them well, be upfront about what you can pay, make sure you do your bit promoting the night and keep the venue in the loop. It’s a lot of hard work to really make any money at the independent end of the promoter scale. So its about having fun with it.

Plus it's a great way to find out about new bands and often I approach bands about booking them first before asking them about management.

In London, Club Nights with Live Bands grow like Mushrooms over the last years. A “new” Trend are underage Clubs where loads of well known bands played from 4pm til 8pm to adolescent people. What do you think about that?

I went to an under ages gig last weekend for Damn Shames, supporting Foals (DS are on our roster) and it was brilliant! You can be cynical about these gigs (as there is money to be made) and the crowds are really not loyal in anyway but the atmosphere is amazing even if it's a little fake. When I was younger I used to go to gigs and hate the ‘grown ups’ who stood at the back. But at these underage clubs no such thing. I think if I was 15 I would love these underage gigs. Plus as a band its nice to play to a room full of over-excited kids who are hitting each other but they really want to kiss each other.

How important are Social Network Sites like Lastfm etc today?

Blogs/Lastfm/myspace are really important for new and the underground/DIY music scenes. Its great for bands to have a way of communicating their music and promoting themselves with out the middle man - direct interaction with fans and vice versa. Although the middle man (music industry) is always watching whats going on.

Its funny that through website network sites a more organic process has been formed.

Black Kids gain a massive Buzz at the Moment. They have only 4 Demos released and it seems that a Bidding War comes up. Isn´t that a stupid thing?

10 years ago bands would usually have to send demos out to record labels to get signed or have a manager. Now with websites such as myspace anyone can listen to your band. In someways is a good thing but in other ways the barrier 10 years ago helped bands develop their sound before being picked up. Now bands who have barely picked up a guitar are getting signed up.

So its not stupid its just that you can get hold of music so easy these days plus once a buzz start the rest follow. All like Sheep. It puts loads of pressure on the act to deliver where as a slower more organic build is less risky. But sometimes you can’t control these things and most bands would are lucky to get the hype. It’s just about how to control it and making sure the hype is back up with great songs and live. Anyways I know the manager as well and am sure he knows what he is doing ;)

Gallows got a huge Major deal. That’s also really stupid. Is that something like the last Breath of a Major which comes out of a big despair?

I am divided on this Gallows debate as musically I don’t think its totally crazy that they got a major deal. Although I’m not sure exactly how much money was involved given the current state of the music industry I am not surprised.

Now days, it´s even harder to get booked from Clubs. And, Pay for play is also a huge Problem. If an Austrian or German Band like to play in the UK, to get an Audience there, it´s much harder. So, what is the best Strategy to get Gigs there?

I am not personally aware of ‘pay for play clubs’ unless its bands paying to support successful artists. I think the best strategy would be to build up a fan base in your own country. Most bands in the UK don’t get out the UK unless they have a booking agent. So the plan would be to get a decent booking agent in your own country and then worry about other countries after that.

I guess I would like to set up my own management company one day and set up a record label where I could just sign bands with animal names, such as Deerhoof, Super Furry Animals, Panda Bear, Animal Collective etc. - Tiger Records. Watch this space.

Freitag

"I saw Black Kids in New York a fewweeks ago and was very disappointed!"

Please introduce yourself to our Readers:

Hello, I’m Justin Barwick, 43 years old and living in the Tirol but originally from just North of London, England. I was a fanatic of music from a very young age and regularly attended concerts whilst still at school. I also started DJing when I was just 15 at private parties and local hotels in my home town. I’m happy to say I still have most of the records and my preference is still for vinyl, although I’m happy to adapt to new technologies.

What was your reason to move to Austria, and also set up a Label there?

In the 90’s I worked in telecoms for an English company. Before Austria I was living in The Netherlands and Belgium. My company won a project to work for Connect Austria (ONE) so as International Director I came to set up an office. On my first day I met a local girl and married her 6 months later. After I quit telecoms and sold another business that I had a shareholding in, I was able to pursue a career that was more pleasure. As a fanatical music fan I was getting sick of always having to drive to Vienna, Munich or back to London to see good bands. I had been DJing for a few years in bars in Innsbruck so I knew there was an interest in Indie & Alternative music so I got together with another local DJ friend and we started Weekender Club specialising in ‘our’ type of music. The record label was a natural progression from this.

Three Important things for New Bands to get more attention from Tastemaker, A&Rs, Djs and Music - Journalists?

1) Be original – nobody wants another Libertines, Arctic Monkeys or Muse.2) Play live – anywhere and often. Develop a good confident live set.3) Style is important. Dress well and get an image. Presentation can get you far!

Do you have a Manifesto or a Weekender Records Philosophy?

We don’t have a specific manifesto or philosophy. We like to work with artists who are nice people without big egos. We are always looking for new artists and they can be any style as long as ‘we’ get it.

In my thoughts, the Music Industries are still a very familiar thing.It doesn´t helps to send in unsolicited Demos, if the Artists or their Management didn´t know Record Label A&Rs etc personally. So do you think that a Band should still try this usual way? I mean it´s also quite expensive to sent demos via regular Mail.

In general I agree with you as we get lots of demo’s and don’t get to listen to all of them. These days Myspace, Youtube and Facebook are very important as you can get a much better idea about an artist. Seeing a band live is still the best way to find a new act though. We have signed a few bands that came to play Weekender Club and impressed us so much we offered them deals.

You living in Austria since a few Years and set upa new Spirit for Indie and Rock Music in Innsbruck. Would you say thatthings has changed in Austria Since then?

Thank you, I take it as a compliment that you say we have set up a new spirit for Indie and rock music in Innsbruck. I certainly get a great deal of pleasure from knowing that we have done our bit to put Austria on the map for this style of music. I do think there is a bit of a change throughout Austria now with more people taking notice of Indie and Rock and less emphasis on Techno, House and Afro which were so prominent before (although I must say I have an exceptionally broad taste in music so can appreciate all genres).

Weekender Records only has signed British Artists at the Moment. Are youalso interested in Acts from other Countries…and probably also from Austria?

This is not true at all. Currently we have released or will release records by The Puzzle (Hungarian), 1984 (French), Five!Fast!!Hits!!! (German), NiTasha Jackson (American) and of course Naked Lunch (Austrian). Nationality is not a problem for us, the only important thing is that we like the music. We have considered a number of Austrian artists but sadly it is very difficult to break an Austrian band outside of Austria unless they are able to move to the UK. Check the website: www.weekenderrecords.com

Is the Austrian Music Industry that worse as like many people said, and what should happen to change a lot of things?

It’s not so much that the Austrian Music Industry is bad it’s just that with a population of only about 8 million people sales are not enough to justify the investment like in bigger countries. There are some positives such as the excellent FM4 radio but I can’t see any way to change things. Even in Germany it is very difficult for bands to become successful worldwide because if they sing in German it means they have a limited audience and if they sing in English they are up against massive competition from the UK and America.

In our last talk, you meant that you will expand Weekender Club overthe whole Country. So that there should be a few Weekender Club Locationsin Austria. Is this still your plan?

I would sincerely love to have a Weekender Club in all the big towns of Austria but it is not a high priority. I would hate it if I permitted someone to use the brand and they got it wrong. I am very protective about the style so when the time comes I want to ensure it’s done properly.

It´s easier to produce Music than it was in the 90ties. There is a lot of Software around, and that’s the reason why so many young Bands produce their own songs. But, if i look to the next Hype thing, Black Kids form Florida, they only have a 4 track demo around in the internet and now they must record an Album and also do a tour. Isn´t that dangerous concerning Artist Development, as they haven´t time for develop their Song writing Skills BEFORE they get a bigger publicity?

Many bands get lucky and become hyped but often before they are ready. In most cases they are an overnight sensation and then quickly disappear. I always tell bands make sure you have written enough for 2 albums before you record the first. That way if they do become successful it takes the pressure off writing a second album whilst promoting the first. Every band should take some time working hard and perfecting their skills before trying to become successful. The opposite is that when it doesn’t happen after a while a band who wants success should quit and try in a different way. If a band starts to get some hype they need to get signed at the first attempt. If they hold out for a better deal or don’t get the offer they want it might never happen. Everyone in the industry is wary of bands that’ve been cited as the next big thing but then are not signed. (incidentally I saw Black Kids in New York a few weeks ago and was very disappointed!).

10 years ago, the Internet wasn´t important concerning scouting New Bands. 2007, it´s really important to spread the word over Weblogs.Do you think that Weblogs could be the next Major Labels. That they release Records cause if their huge Audience, as it´s more easy tosell Music for them?

No I don’t think weblogs will become Major Labels, but I do think Major Labels will try to manipulate Weblogs. The internet has revolutionised music and the industry is trying to understand how to handle it. I am a great believer that people who like a band ultimately want a physical product to show to their friends and so there will always be a market for Vinyl, CD’s or some other product. Also, merchandising is very important. Weekender Records is about to become the very first label in Germany to release an entire album on USB Memory stick with Chikinki’s ‘Brace Brace’. The album will be available in a standard CD jewel case with normal artwork but inside will be the memory stick with the Chikinki logo printed on it. The stick can then be put in a computer where there will be the whole album. The bonus is that we can add videos, photos and other band info. I’m hoping that people will see it as the best of both worlds, digital and physical!Radiohead released their Record as a Full Download Version on the Internet, for "Free". Is this also a possibility for Young Bands to making more money as if they have a "regular" record Deal or just a perfect way for well known Artiststo get full control about their Copyrights etc?

From my understanding Radiohead still charged for their album but they let the purchaser decide the price (which I believe averaged at about 4 UK pounds). This is just a gimmick. However, The Crimea and The Charlatans have both made their entire albums available for free download. I think this just devalues the band and their music. I believe the music is not as respected unless it’s been paid for. Other bands will realise this and I don’t expect it to become a trend. Record labels will discourage it as they will always need the revenue from sales. Also, new bands are not going to give away albums for free as they don’t have the big fanbase so what’s the point? Bigger bands could justify that they can still earn enough from live shows and merchandise, but for how long?

And if, could this Acts also have a chance to breake UK, Sweden or anything else?

As mentioned before it is very very difficult to break an Austrian band in the UK (or Sweden). The only chance would be if they were really talented then they would have to move to London (or Stockholm) and play loads of shows. Just releasing a record and playing a few shows is not enough when they are up against so much local competition.

I often compare the Austrian Music Industry with our Football. Austrian Football Player really should move to UK or France or Germany etc to develop their skills…so, in music biz, would you say that it´s important for our Artists to tour through foreign Markets from the begin of a band career? To play every fuckin toilette, as it Matthew Bellamy from Muse meant in an Interview a few years ago?

See above! (although I like Austrian football and British football has mostly foreign players!) – come on Wacker Tirol!!!

Now days, it´s even harder to get booked from Clubs. And, Pay for play is also a huge Problem. If an Austrian Band like to play in the UK, to get anAudience there, it´s much more harder. So, what is the bestStrategy to get booked there?

Sadly there is no magical answer. I hate the way bands are treated in the UK but as there are so many bands it’s easy for promoters to treat them badly. We treat bands very well at Weekender Club and get a very good response from them. However, some Austrian and German bands have a very poor attitude and strut around with a level of arrogance way above their status. If they went to the UK they wouldn’t last longer than a few days!

Last Question. What are your future Plans?

I’m not really a planner. I would like to develop the Weekender brand so it is recognised worldwide for good music. I’ve just employed a licensing manager to help get deals for our bands in Japan, America, Australia, Scandinavia and throughout Europe. I am also building a new division in the UK called Weekender Tour Assistance where we will supply tour busses, backline and Tour Managers. I also wish to do more in the way of merchandising and I want to have a publishing company – phew……

Freitag

It´s 2007, so…what things happened since our first Interview in November 2005?

Everything. We’ve released almost a dozen albums, been in the charts with the likes of Young Knives, Iron & Wine, Regina Spektor, The Shins, and others, and signed some of the best music we’ve ever heard. Have you heard Foals? They’re one of the best new bands for years and years, completely invincible live. We’ve started Publishing and Management offshoots, too, so we can work with artists in other creative and representational roles… Our rockfeedback.com site is about to have an amazing facelift and a proper push in 2008, and our tv show has done pretty well, being broadcast in 16 countries through MTV, and on Channel 4 in the UK. Our club-nights have been putting on some great new bands, too. It’s all happening.

You´ve recently signed So So Modern from New Zealand and Cut off yourHands signed by 679. It seems that there coming a lot of good Stuff fromthere?

Seems so. Although, for such a small island, it’s always had a great wealth of musical talent – the government there is very instrumental in supporting its local music scene, providing grants for touring funds… That is something that I think couldn’t work in the UK – because seemingly everyone 14 and upwards seems to be in a band these days! Or at least aspires to be, if only in secret. It’d cause an economic recession trying to give everyone start-up funds in London! Also, how would you guage who deserves the dosh? By how ruffled their hair was, or how many holes were in the crotches of the band members’ jeans?

Three Important things for New Bands to get more attention from Tastemaker, A&Rs, Djs and Music - Journalists?

Be original, have your own set of ethics, enjoy it. So many bands are forming bands purely for fame’s sake or to get a house from an advance cheque – fuck them. I got into this because I love music and want to be helping people get heard. One day it’d be nice to live more ‘comfortably’ from it, but that’s not really the main agenda.

Did the British Music Industry become much more younger? I mean, more young people are Record Label Owner, Alan Mc Gee quit and left the Country to the US cause he only will work with People who “inspire” him now, andthe Bands are getting a Buzz when they still in School.

Haha. I think the Internet being a more accessible medium has meant that anyone who is a music fan and is young has suddenly got a resource at home or school they can immediately tap into and follow up… the avidness ofyouth, and all the free time of pissing about of course, means younger people are naturally more likely to research and investigate music and artists, and then get involved. Previously, there was the restriction of having to have more than pocket money to go out and buy CDs in recordshops in order to become really attached to music. For better or for worse(for the music industry in its current model, it’s the latter!), now people can go online and get tonnes of music and not even have to leave their house. Wait ‘til it becomes even more mobile phone-centric like Japan in the next few years!

How important are Social Network Sites like Lastfm etc today?

Massively – as per the last question – people, especially those slightly younger, are wanting to discover more and more music, and these sites make it idiot-proof as a concept. I think they’re amazing.

Black Kids gain a massive Buzz at the Moment. They have 4 Demos released and it seems that a Bidding War comes up. Isn´t that a stupidthing?

It depends what else they have up their sleeves. If they have four songs, and no live show, then I could see that as worrying. If they have fourteen amazing songs, however, having only released four publicly, and a great live show, then it might be cool. Or, if they only have four songs, BUT have huge ambition and great ideas, and a will to do things differently, then that’s fine with me; good luck to them.

Gallows already have done a Major Deal with Warner for 1 Million Pounds. That’s also really Stupid. Is that something like the last Breath of a Major wich comes out of a big despair?

Haha. It was actually far less than that, I heard, but it was still a big deal. I think signing anything that’s a six figure deal, or more even, is completely terrifying and very unfair on both the artist and the label; it’s placing too high a recoupment figure for anyone to actually succeed in the relationship further down the line. In the traditional music industry model (not that deals such as these are getting offered anymore, as of two weeks ago, virtually!), bands should be encouraged to sign for less and go for a higher royalty, and go in for the crusade. In the past,the majors exploited artists; the last few years, it turned on its head, with artists and lawyers trying to get as much as they can out of these fast-crumbling music companies… which was amusing for a bit… but you only have to look at how many bands have been dropped of late to realise it can’t be such a smart move in the long-term.

A well known Music Journalist in Germany, Albert Koch, wrote a Book called “Fuck Forever – The Death of Indie Rock”. He criticised that a “Big Sell Out" happened after Kaiser Chiefs etc hook up with Major Labelsand that Indie become Mainstream and also a Fashionable thing. So how dead is Indie Rock in these Days, cause I think it is more alive than ever before

I don’t know. It’s easy to forget, but major labels have released some of the best music we’ll ever hear – Tom Waits, The Rolling Stones, Neil Young, Bob Dylan, The Beatles, Radiohead, Blur, Bruce Springsteen, REM, Madonna, and billions more. Indie labels have equally shaped culture from the grassroots upwards. I don’t think indie rock is dead. I’ve heard five amazing new bands recently, and they’re all totally different to each other, and what’s gone before. I hope we can sign them all!

To be an A&R is really hard in an Era where it is easy to produce with Software and to put it online to Myspace etc. If I look to your Record Labels Roster, you have still good bands? Whats your secret concerningscouting new Acts?

Only working with real music that you believe in. Most A&Rs scout music that other A&Rs are listening to, because they lack conviction in their own beliefs and want to sign a buzz band. We’ve signed bands that no one wanted to sign, and they’ve become successful. We’ve also signed bands that everyone else wanted to sign, but we might have got in there earlier, purely because of luck and friends with good tips! Always listen to the songwriting and the artistic vision, that’ll guide you.

The End of the year is near. Any Hot Tipped Act for 2008?

Yes, Foals. Mechanical Bride. Ox.Eagle.Lion.Man. OK, so we work with all of them, but I have to plug, y’know!

In 2005, Transgressive barley started out. 2007, your Label is well known also here in the G/A/S Area, put a lot of great Bands out…so…what are your Future Plans now and how full is your releasing Schedule for theupcoming year??

That’s really nice to know… We’ll just keep plugging away to do our best at representing the best music and the most honest and talented musicians out there, and making people hear about this great music. With rockfeedback, we’ll keep covering everyone we can, and making things happen! Our release schedule comprises the amazing, second Young Knives album ‘Superabundance’, Foals’ debut LP, Johnny Flynn’s first record (he’s an act we manage, signed to Vertigo/Universal), and too many to list here! Stay tuned at our myspace.com/transgressiverecords andwww.transgressiverecords.co.uk websites. Thank you!

TOBY: I'm a 20-year-old, London-based music-obsessivecalled Toby L. I run an online music-magazine calledrockfeedback.com, plus monthly, sell-out club-nightswhich occur under the banner of The Basement Club(past acts: The Libertines; Bloc Party; The Futureheads;Graham Coxon; The Magic Numbers; Hard-Fi; and DJs such asBoy George and Rough Trade's Geoff Travis),present/produce/direct new MTV2 series, 'rockfeedback tv'(debut episodes which went out in June 2005 featured SonicYouth, Steve Albini, The Shins, Dizzee Rascal and many morelive and in conversation), and am co-director of new indielabel, Transgressive Records. I'm, unquestionably,a lucky bastard, that loves every bit of it.

TBP: “rockfeedback.com” is your online mag. It seemsthat “transagressive/rockfeedback” is on the same waythan “drowned in sound”, is this the time to build upa fanzine, a label as well doing own nights on clubs?Seems like a total change of the UK music industry inthe future, cause it´s also a fact that the DIY generationof the twenty somethings are now in the main focus at all.

TOBY: I think any time is the right time to workhard to fulfil and achieve in the any faction of yourinterests; it's always important to try and supercedethe outdated models in avenues that you feel are beingpoorly-represented. When I first started in music,found music-journalism cynical and flaccid; atleast now I have an outlet I can personally contributeto which feels like the antithesis of that(rockfeedback); club-nights which hopefully aren'tabout which haircut you have, but instead what calibreof bands is playing (The Basement Club); and a record-label(Transgressive), as run by myself and fellow rockfeedbackscribe and all-round genius Tim Dellow (responsible forreleasing the first singles from Bloc Party and The Rakeson his prior label, Trash Aesthetics) that isn't tryingto rip off bands. It's a concerted effort to provide abetter alternative for true, devoted music-lovers.And to entertain myself, of course!

TBP: Major labels all around the world gain hugeproblems regarding scounting new acts. The indiescene runs better and better, and if I look tosome very popular acts of the last time, it looksthat the majors become more a role of publishingand distribution than a strong new talentdevelopment department, cause the independentlabels are develop new acts, before majors sign them.

TOBY: This is definitely a fair, generalsynopsis in the realms of 'alternative' music.In the UK, the most successful achievers havebeen indie labels; the most popular signings of thelast four years... Bloc Party, Kaiser Chiefs, The Strokes,The White Stripes, The Killers, Franz Ferdinand...have all been made on indies. The majors, however,excel in big-spend marketing when acts need to break,in addition to leading pop artists. Otherwise,they're pretty much moribund. The clever majors arethe ones working closely with the indies to strategise the future.

TBP: Your demo policy sounds similar then otherindie labels, but everyone knows that it´s veryhard to get feedback if you´re in a band andsent out a demo. So where are you “around” whenyou scouting new acts. What Buzz must happened,before you going to a gig, cause there are hundretbands a week in UK around, and all of them willplay in front of a bunch of A&Rs.

TOBY: It's not quite so calculated; usually, a friendwill pass on the name of a band s/he recommends/likes,or we'll chance upon a band in a club which we reallylike the energy and - most crucially - ideas of, no matterhow fledgling in those early days. In reviewing demoson rockfeedback or signing bands, it's very rare, sadly,that the best material we receive is from unsolicited demos;usually, the finest bands are out there playing andoning their craft before people stand up and takenotice off their own back.

TBP: “white heat”, “high voltage”, “stylish riot”,“dead disco” and many many more. Those are just a fewnames of club nights with a very good reputation.The place where the hottest acts around play theirasses off. Do you think that it´s the best thing fornew talented acts to play one or more of those club nights,to gain a good buzz in UK music scene?

TOBY: I think club-nights are definitely a safe,enioyable way for a new act to actually play to aguaranteed decent turn-out in a competitive music-culturesuch as London. Those named club-nights in particularare the most fun and best-attended for a small crowdin London; you never know who'll be in the audience,industry-wise, and the usually slightly inebriatedattendees themselves are commonly up for a dance.

TBP: What is the london indie mafia, and whois their “godfather”?

TOBY: Haha! It's too sprawling and varied tospecify such terms, but most certainly the 'mafia'could be perceived as Camden, seeing as so many keyindustry big-hitters are based there (Queens of Noize,Alan McGee, 679 Recordings, MTV), not to mention awhole consortium of record-shops and toilet-circuitvenues. It's the first port of call from atourist's perspective, musically, too.

TBP: Across the pond, in US and JAPAN, UK actsare gain big media at the moment. It seemsthat Acts like FRANZ FERDINAND, COLDPLAY etcopen the biggest markets for UK acts. Do youthink that the United States are slowly changetheir musical tastes, beside the major themeslike R&B and HipHop?

TOBY: Having just returned from New Yorkafter the CMJ Conference, it seems the Statesis certainly opening up slightly to the notionof alternative music making considerable headwayin a mainstream sense. But, that said, 'alt'has always been of great importance to the keycities in the US - New York, LA, Seattle, Chicago,San Fran, etc. - which are more arty in theirinclinations, and are thus more susceptible andopen to such tastes. Middle America continues tobe slightly sluggish in its reception; I don'tthink Franz would ever appeal as much Eminemwithin the populist culture. It's too skewed,cheeky and irreverent, despite the great tunes.

TBP: Last week, Germany´s Rock Act No. 1 SPORTFREUNDE STILLERplayed together with COSMIC CASINO and MONTA 3 sold out showsin a row in London. In November, another famous Act, calledWIR SIND HELDEN, come to the UK to play an one off show in London.And I know many acts from GSA territory who areinterested to come over and doing the same thing.Is the UK open minded for foreigen acts, beside USA and Scandinavia?

TBP: Certain foreign acts receive pockets ofinterest when over, yet generally to just thosealready aware of their activities. However, theUK is a great, effective launch-pad for certain,emergent new acts to make a mark in the early days -e.g. many American bands choose to tour here extensivelyand make a name for themselves, due to the prestigethat could be heaped on returning home and proclaiming,'We just broke the UK!' The acclaim of respectfrom the UK continues to be an important tool inestablishing the credibility in new talent abroad, it seems.

TBP: What do you think about online Demo Submition?

TOBY: we listen to a lot of music onlinethese days in consideration of what new talent is out there,whilst still receiving physical material through the post.I think the distribution/sharing of mp3s and online link sharingis a crucial, powerful tool in not only unearthing new,courageous artists, but also in developing fan-bases anda community-minded online presence. One thing I've learntin doing rockfeedback for five years is just how vitalthe Internet has now become in providing unbeatable,instant-ish exposure; a priority in marketing new actsyou could say; whilst outlets such as Myspace provideeveryone the chance for bands old and new to gainstature and a platform to reach a varied, global audience.

TBP: At the end of the interview, what are themain future plans for TRANSAGRESSIVE, and do yousee your record label as a develop department, cause Iknow that it is really expensive to release a huge amountof records, and there are many labels out there who needto quit after they had a breakthrough artist.

TOBY: Transgressive has barely got started. Our release-schedule is stretched until the end of 2006, and we'llwork these bands we're fortunate enough to know and sign(current roster: The Young Knives / Regina Spektor/ Ladyfuzz / Jeremy Warmsley / Battle) until our fingers, minds and hearts bleed to the core.They're all possessive of genius. Any other acts we workwith in our time will also be of the utmost of relevantand important to us, and all that will hear them.We see Transgressive as a vital launch-pad fornew acts, and a long-term home for the future - a brandfor the bands and listeners alike to know and trust.